Editing Performance art (section)

==1960s==
[[File:Warhol's_Exploding_Plastic_Inevitable_with_Nico.png|thumb|''Exploding Plastic Inevitable'' by Ann Arbor]]

In the 1960s, with the purpose of evolving the generalized idea of art and with similar principles of those originary from [[Cabaret Voltaire (Zürich)|Cabaret Voltaire]] or [[Futurism]], a variety of new works, concepts and a growing number of artists led to new kinds of performance art. Movements clearly differentiated from [[Viennese Actionism]], [[avant garde]] performance art in New York City, [[process art]], the evolution of [[The Living Theatre]] or [[happening]], but most of all the consolidation of the pioneers of performance art.<ref>{{cite web|title=La evolución de la performance desde los 60/70|url=https://diarium.usal.es/mcusa/2011/05/04/la-evolucion-de-la-performance-desde-los-6070/|publisher=Universidad de Salamanca|date=May 4, 2011|access-date=June 5, 2020}}</ref>

[[File:Weltverwandlung.jpg|left|thumb|Pioneers of [[Viennese Actionism]] during an exhibition in the [[Hermann Nitsch]] foundation]]

=== Viennese actionism ===
{{Main|Viennese Actionism}}
The term [[Viennese Actionism]] (''Wiener Aktionismus'') comprehends a brief and controversial art movement of the 20th century, which is remembered for the violence, grotesque and visual of their artworks.<ref>{{cite news|last=Lapidario|first=Josep|title=Pintura, sangre, sexo y muerte: en las tripas del accionismo vienés|url=https://www.jotdown.es/2016/01/pintura-sangre-sexo-y-muerte-en-las-tripas-del-accionismo-vienes/|access-date=May 27, 2020|work=JotDown}}</ref> It is located in the Austrian vanguard of the 1960s, and it had the goal of bringing art to the ground of performance art, and is linked to Fluxus and Body Art. Amongst their main exponents are [[Günter Brus]], [[Otto Muehl]] and [[Hermann Nitsch]], who developed most of their actionist activities between 1960 and 1971. Hermann, pioneer of performance art, presented in 1962 his ''Theatre of Orgies and Mysteries'' (Orgien und Mysterien Theater).<ref>{{cite web|title=Accionismo Vienés|url=http://www.caac.es/prensa/dossiers/not_accionism.pdf|publisher=Centro Andaluz de Arte Contemporáneo|access-date=May 27, 2020}}</ref><ref>{{cite news|title=Accionismo vienés o el lenguaje brutal del cuerpo|url=https://medium.com/fuga-incendios/accionismo-vienés-o-el-lenguaje-brutal-del-cuerpo-c631e2e52656|access-date=June 5, 2020|work=Medium|date=July 18, 2016}}</ref><ref>{{cite web|last=Ramis|first=Mariano|title=Accionismo Vienés|url=https://proyectoidis.org/accionismo-vienes/|publisher=IDIS|date=April 21, 1965|access-date=June 5, 2020}}</ref> [[Marina Abramović]] participated as a performer in one of his performances in 1975.

=== New York and avant-garde performance ===
[[File:Photos from The Velvet Underground Era (Andy Warhol's Factory) (3223536662).jpg|left|thumb|Photography exhibition in [[The Velvet Underground]] and [[Andy Warhol]] Factory]]
In the early 1960s, New York City harbored many movements, events and interests regarding performance art. Amongst others, [[Andy Warhol]] began creating films and videos,<ref>{{cite web|url=http://www.warholstars.org/andy_warhol_films.html|title=Andy Warhol Films|website=www.warholstars.org}}</ref> and mid decade he sponsored [[The Velvet Underground]] and staged events and performative actions in New York, such as the [[Exploding Plastic Inevitable]] (1966), that included live rock music, explosive lights and films.<ref name="Aspen">{{Cite web|title=From the research laboratories of Andy Warhol comes this issue of Aspen Magazine|date=April 1967|url=http://www.ubu.com/aspen/advertisements/aspen3Ad.html|publisher=Evergreen Review|volume=11|number=46}}</ref><ref name="BWJ">{{Cite journal|author-link=Branden W. Joseph|date=Summer 2002|title='My Mind Split Open': Andy Warhol's Exploding Plastic Inevitable|journal=Grey Room|volume=8|pages=80–107|doi=10.1162/15263810260201616|last1=Joseph|first1=Branden W.|s2cid=57560227}}</ref><ref name="blaetz">{{Cite book|last1=Osterweil|first1=Ara|last2=Blaetz|first2=Robin|title=Women's Experimental Cinema: Critical Frameworks|date=2007|publisher=[[Duke University Press]]|isbn=9780822340447|page=143}}</ref><ref name="MT">{{Cite book|last1=Martin Torgoff|first1=Martin|title=Can't Find My Way Home: America in the Great Stoned Age, 1945-2000|publisher=Simon & Schuster|location=Nueva York|date=2004|page=156|url=https://books.google.com/books?id=PpqQTLE_qBEC&q=can%27t+find+my+way+home|isbn=0-7432-3010-8}}</ref> Among New York’s avant-garde performance artists, [[Joey Skaggs]] emerged in the 1960s with provocative public interventions that satirized institutional power and media spectacle. His early works include ''The Crucifixion'' (1966–1969), a life-size sculpture of a decaying [[Jesus|Christ]] exhibited in public parks to protest religious hypocrisy, and the ''Hippie Bus Tour to Queens'' (1968), in which [[East Village, Manhattan|East Village]] artists parodied voyeuristic tour buses by visiting suburban neighborhoods.<ref>{{Cite journal |last=Harold |first=Christine |date=2004-09-01 |title=Pranking rhetoric: “culture jamming” as media activism |url=https://www.tandfonline.com/doi/abs/10.1080/0739318042000212693 |journal=Critical Studies in Media Communication |volume=21 |issue=3 |pages=189–211 |doi=10.1080/0739318042000212693 |issn=1529-5036|url-access=subscription }}</ref>

=== The Living Theatre ===
{{Main|The Living Theatre}}
[[File:The Living Theatre - The Brig, 1. May 2008.jpg|thumb|The Living Theatre presenting their work ''The Brig'' in Myfest 2008 in Berlin-Kreuzberg]]

Indirectly influential for art-world performance, particularly in the United States, were new forms of theatre, embodied by the San Francisco Mime Troupe and the Living Theatre and showcased in Off-Off Broadway theaters in SoHO and at La MaMa in New York City. The Living Theatre is a theater company created in 1947 in New York. It is the oldest [[experimental theatre]] in the United States.<ref>Beck, J., ''El Living Theatre'', Madrid, Fundamentos, 1974, pag. 255</ref> Throughout its history it has been led by its founders: actress [[Judith Malina]], who had studied theatre with [[Erwin Piscator]], with whom she studied [[Bertolt Brecht]]'s and [[Meyerhold]]'s theory; and painter and poet [[Julian Beck]]. After Beck's death in 1985, the company member Hanon Reznikov became co-director along with Malina. Because it is one of the oldest random theatre or live theatre groups nowadays, it is looked upon by the rest.{{clarify|date=October 2020}} They understood theatre as a way of life, and the actors lived in a community under libertary{{clarify|date=October 2020}} principles. It was a theatre campaign dedicated to transformation of the power organization of an authoritarian society and hierarchical structure. The Living Theatre chiefly toured in Europe between 1963 and 1968, and in the U.S. in 1968. A work of this period, ''Paradise Now'', was notorious for its audience participation and a scene in which actors recited a list of social taboos that included nudity, while disrobing.<ref>Beck, J., ''El Living Theatre'', Madrid, Fundamentos, 1974, pag.102</ref>

[[File:Fluxus manifesto.jpg|left|thumb|Fluxus manifesto]]

===Fluxus===
{{Main|Fluxus}}
[[File:Componist John Cage , kop, Bestanddeelnr 934-3585.jpg|thumb|Portrait of [[John Cage]], 1988]]

[[Fluxus]], a Latin word that means ''flow'', is a visual arts movement related to music, literature, and dance. Its most active moment was in the 1960s and 1970s. They proclaimed themselves against the traditional artistic object as a commodity and declared themselves a sociological art movement. Fluxus was informally organized in 1962 by [[George Maciunas]] (1931–1978). This movement had representation in Europe, the United States and Japan.<ref>Simposio ''Happening, Fluxus y otros comportamientos artísticos de la segunda mitad del siglo XX''. Cáceres, 1999, Editorial Regional de Extremadura, {{ISBN|84-7671-607-9}}.</ref> The Fluxus movement, mostly developed in North America and Europe under the stimulus of [[John Cage]], did not see the avant-garde as a linguistic renovation, but it sought to make a different use of the main art channels that separate themselves from specific language; it tries to be interdisciplinary and to adopt mediums and materials from different fields. Language is not the goal, but the mean for a renovation of art, seen as a global art.<ref>''Fluxus at 50''. Stefan Fricke, Alexander Klar, Sarah Maske, Kerber Verlag, 2012, {{ISBN|978-3-86678-700-1}}.</ref> As well as [[Dada]], Fluxus escaped any attempt for a definition or categorization. As one of the movement's founders, [[Dick Higgins]], stated:

<blockquote>Fluxus started with the work, and then came together, applying the name Fluxus to work which already existed. It was as if it started in the middle of the situation, rather than at the beginning.<ref>[https://www.youtube.com/watch?v=9feLztCuQ18 Dick Higgins on Fluxus], interviewed 1986.</ref><ref>Amongst the earliest pieces that would later be published by Fluxus were Brecht's event scores, the earliest of which dated from around 1958/9, and works such as Valoche, which had originally been exhibited in Brecht's solo show 'Toward's Events' at 1959.</ref></blockquote>

[[Robert Filliou]] places Fluxus opposite to conceptual art for its direct, immediate and urgent reference to everyday life, and turns around Duchamp's proposal, who starting from [[Found object|Ready-made]], introduced the daily into art, whereas Fluxus dissolved art into the daily, many times with small actions or performances.<ref>{{cite web|title=Fluxus|url=https://masdearte.com/movimientos/fluxus/|publisher=Masdearte.com|access-date=June 8, 2020}}</ref>

[[John Cage]] was an American composer, [[Music theory|music theorist]], artist, and philosopher. A pioneer of [[Indeterminacy (music)|indeterminacy in music]], [[electroacoustic music]], and [[Extended technique|non-standard use of musical instruments]], Cage was one of the leading figures of the post-war [[avant-garde]]. Critics have lauded him as one of the most influential composers of the 20th century.{{sfn|Pritchett|Kuhn|Garrett|2012|p= "He has had a greater impact on music in the 20th century than any other American composer."}}<ref name=obit>{{Cite news|title=John Cage, 79, a Minimalist Enchanted With Sound, Dies|first=Allan|last=Kozinn|author-link=Allan Kozinn|url=https://www.nytimes.com/learning/general/onthisday/bday/0905.html|quote=John Cage, the prolific and influential composer whose Minimalist works have long been a driving force in the world of music, dance and art, died yesterday at St. Vincent's Hospital in Manhattan. He was 79 years old and lived in Manhattan.|work=The New York Times|date=August 13, 1992|access-date=July 21, 2007}}</ref><ref>{{Cite book|title=Into the Light of Things: The Art of the Commonplace from Wordsworth to John Cage |last=Leonard |first=George J. |year=1995 |publisher=University of Chicago Press |isbn=978-0-226-47253-9 |page=120 ("... when Harvard University Press called him, in a 1990 book advertisement, "without a doubt the most influential composer of the last half-century," amazingly, that was too modest.")}}</ref><ref>{{Cite book|title=Greene's Biographical Encyclopedia of Composers |last=Greene |first=David Mason |year=2007 |publisher=Reproducing Piano Roll Fnd. |isbn=978-0-385-14278-6 |page=1407 ("... John Cage is probably the most influential... of all American composers to date.")}}</ref> He was also instrumental in the development of [[modern dance]], mostly through his association with choreographer [[Merce Cunningham]], who was also Cage's romantic partner for most of their lives.<ref>Perloff, Junkerman, 1994, 93.</ref><ref>Bernstein, Hatch, 2001, 43–45.</ref>

Cage's friend [[Sari Dienes]] can be seen as an important link between the [[Abstract Expressionists]], Neo-[[Dada]] artists like [[Robert Rauschenberg]] and [[Ray Johnson]], and Fluxus. Dienes inspired all these artists to blur the lines between life, Zen, performative art-making techniques and "events," in both pre-meditated and spontaneous ways.<ref>{{Cite news|url=https://whitehotmagazine.com/articles/museum-show-for-sari-dienes/5895|title=A New Book and a Museum Show for Sari Dienes|work=[[Whitehot Magazine]]|last=Bloch|first=Mark|author-link=Mark Bloch (artist)|date=July 2023|access-date=8 September 2023}}</ref>

=== Process art ===
{{Main|Process Art}}
[[Process art]] is an [[artistic movement]] where the end product of ''art'' and ''craft'', the ''[[:wikt:objet d’art|objet d’art]]'' ([[work of art]]/[[found object]]), is not the principal focus; the process of its making is one of the most relevant aspects if not the most important one: the gathering, sorting, collating, associating, patterning, and moreover the initiation of actions and proceedings. Process artists saw art as pure human expression. Process art defends the idea that the process of creating the work of art can be an art piece itself. Artist [[Robert Morris (artist)|Robert Morris]] predicated "anti-form", ''process'' and ''time '' over an objectual finished product.<ref>{{cite web|last1=Gottlieb|first1=Baruch|title=Los signos vitales del arte procesual|url=http://www.laboralcentrodearte.org/es/recursos/articulos/es-arte-procesual-el-nuevo-cine|publisher=Laboral Centro de Arte|date=2010|access-date=May 17, 2020}}</ref><ref>{{cite web|title=Process Art|url=https://www.tate.org.uk/art/art-terms/p/process-art|publisher=Tate Modern|access-date=June 10, 2020}}</ref><ref>{{cite web|title=Process Art|url=https://www.guggenheim.org/artwork/movement/process-art|publisher=Guggenheim|access-date=June 10, 2020}}</ref>

[[File:1972, Umberto Mariani, Joseph Beuys, Jean Pierre Van Tieghem, Documenta 5, Kassel.jpg|thumb|Joseph Beuys in a Documenta Kassel event]]

=== Happening ===
{{Main|Happening}}
[[Noah Wardrip-Fruin|Wardrip-Fruin]] and [[Nick Montfort|Montfort]] in ''The New Media Reader'', "The term 'Happening' has been used to describe many performances and events, organized by Allan Kaprow and others during the 1950s and 1960s, including a number of theatrical productions that were traditionally scripted and invited only limited audience interaction."<ref>Noah Wardrip-Fruin and Nick Montfort, eds., ''The New Media Reader'' (Cambridge: The MIT Press, 2003): p.&nbsp;83. {{ISBN|0-262-23227-8}}.</ref> A ''happening'' allows the artist to experiment with the movement of the body, recorded sounds, written and talked texts, and even smells. One of Kaprow's first works was ''Happenings in the New York Scene'', written in 1961.<ref>Montfort, Nick, and Noah Wardrip-Fruin. ''The New Media Reader.'' Cambridge, Massachusetts [u.a.: MIT, 2003]. Print.</ref> Allan Kaprow's happenings turned the public into interpreters. Often the spectators became an active part of the act without realizing it. Other actors who created ''happenings'' were [[Jim Dine]], [[Al Hansen]], [[Claes Oldenburg]], ''Robert Whitman'' and [[Wolf Vostell]]: ''Theater is in the Street'' (Paris, 1958).<ref>[[#Pavis|Patrice Pavis]], "Diccionario del teatro", p. 232</ref><ref>{{cite web|last1=Profesorado|title=El arte de la acción: happening, performance y fluxus|url=https://previa.uclm.es/profesorado/irodrigo/Esquema%20arte%20acción..pdf|publisher=Universidad de Castilla La mancha|access-date=November 7, 2021|archive-date=March 8, 2021|archive-url=https://web.archive.org/web/20210308041814/https://previa.uclm.es/profesorado/irodrigo/Esquema%20arte%20acci%C3%B3n..pdf|url-status=dead}}</ref>

=== Main artists ===
[[File:Warhol and Beuys by Jodice.tif|left|thumb|Portrait of [[Joseph Beuys]] and [[Andy Warhol]] in [[Naples]]]]

The works by performance artists after 1968 showed many times influences from the political and cultural situation that year. [[Barbara Smith|Barbara T. Smith]] with ''Ritual Meal'' (1969) was at the vanguard of body and scenic feminist art in the seventies, which included, amongst others, [[Carolee Schneemann]] and [[Joan Jonas]]. These, along with [[Yoko Ono]], [[Joseph Beuys]], [[Nam June Paik]], [[Wolf Vostell]], [[Allan Kaprow]], [[Vito Acconci]], [[Chris Burden]] and [[Dennis Oppenheim]] were pioneers in the relationship between body art and performance art, as well as the [[Zaj]] collective in Spain with [[Esther Ferrer]] and [[Juan Hidalgo Codorniu|Juan Hidalgo]].

[[Image:Schneemann-Interior Scroll.gif|thumb|[[Carolee Schneemann]], performing her piece ''Interior Scroll.'' [[Yves Klein]] in France, and [[Carolee Schneemann]], [[Yayoi Kusama]], [[Charlotte Moorman]], and [[Yoko Ono]] in New York City were pioneers of performance based works of art, that often entailed nudity.]]

[[Barbara Smith]] is an artist and United States activist. She is one of the main African-American exponents of [[feminism]] and [[LGBT]] activism in the United States. In the beginning of the 1970s she worked as a teacher, writer and defender of the black feminism current.<ref>Smith interview by Loretta Ross, [http://www.smith.edu/libraries/libs/ssc/vof/transcripts/Smith.pdf Voices of Feminism Oral History Project], pp. 5–6.</ref> She has taught at numerous colleges and universities in the last five years. Smith's essays, reviews, articles, short stories and [[literary criticism]] have appeared in a range of publications, including ''[[The New York Times]]'', ''[[The Guardian]]'', ''[[The Village Voice]]'' and ''[[The Nation]]''.<ref name="Ross interview">Smith, Barbara, interview by Loretta Ross, transcript of video recording, May 7, 2003, [http://www.smith.edu/libraries/libs/ssc/vof/transcripts/Smith.pdf Voices of Feminism Oral History Project], Sophia Smith Collection, p. 2.</ref><ref>Smith interview by Loretta Ross, [http://www.smith.edu/libraries/libs/ssc/vof/transcripts/Smith.pdf Voices of Feminism Oral History Project], pp. 3–4.</ref><ref>Smith, Barbara. ''Home Girls: A Black Feminist Anthology'', Kitchen Table: Women of Color Press, 1983, {{ISBN|0-913175-02-1}}, p. xx, Introduction</ref>

[[Carolee Schneemann]]<ref>{{Cite web|url=https://www.artlyst.com/news/carolee-schneemann-pioneering-feminist-artist-dies-age-79/|title=Carolee Schneemann Pioneering Feminist Artist Dies Age 79}}</ref> was an American [[visual artist|visual experimental artist]], known for her multi-media works on the body, narrative, [[human sexuality|sexuality]] and [[gender]].<ref>{{cite news|title=Carolee Schneeman on Feminism, Activism and Ageing|url=http://www.anothermag.com/art-photography/8462/carolee-schneemann-on-feminism-activism-and-ageing|access-date=March 19, 2016|publisher=AnOther magazine}}</ref> She created pieces such as ''Meat Joy'' (1964) and ''Interior Scroll'' (1975).<ref name="performa07">{{cite web |url=http://www.timeout.com/newyork/article/23687/carolee-schneemann-remains-to-be-seen-new-and-restored-films-and-videos-with-video |work=[[Time Out New York]] |title=Carolee Schneemann: "Remains to Be Seen: New and Restored Films and Videos" |date=October 25, 2007 |access-date=June 10, 2020 |archive-date=January 5, 2013 |archive-url=https://archive.today/20130105010205/http://www.timeout.com/newyork/article/23687/carolee-schneemann-remains-to-be-seen-new-and-restored-films-and-videos-with-video |url-status=dead }}</ref> Schneemann considered her body a surface for work.<ref name="stiles-3">{{cite book|title =Imaging Her Erotics: Essays, Interviews, Projects|last=Stiles|first=Kristine|year=2003|publisher=[[MIT Press]]|location=[[Cambridge, Massachusetts]] |isbn=026269297X|chapter=The Painter as an Instrument of Real Time|page=3}}</ref> She described herself as a "painter who has left the canvas to activate the real space and the lived time."<ref>[http://gregcookland.com/journal/2007_10_28_archive.html Carolee Schneemann Speaks], ''New England Journal of Aesthetic Research''. Posted 11 de octubre de 2007.{{Self-published source|date=December 2020}}</ref>{{Failed verification|date=October 2020|reason=Quote does not exist at all on provided reference}}

[[Joan Jonas]] (born July 13, 1936) is an American visual artist and a pioneer of [[video art|video]] and performance art, who is one of the most important female artists to emerge in the late 1960s and early 1970s.<ref name=MIT>[http://act.mit.edu/people/professors/joan-jonas/ Faculty: Joan Jonas] ACT at MIT – MIT Program in Art, Culture and Technology.</ref> Jonas' projects and experiments provided the foundation on which much video performance art would be based.  Her influences also extended to [[conceptual art]], theatre, performance art and other visual media. She lives and works in New York and Nova Scotia, Canada.<ref>[http://joanjonasvenice2015.com/artist-joan-jonas/ "Artist Joan Jonas"], Venice Bienniale, Retrieved August 17, 2014.</ref><ref name="EAI">[http://www.eai.org/artistBio.htm?id=408 "Joan Jonas: Biography"] {{webarchive|url=https://web.archive.org/web/20110121122518/http://www.eai.org/artistBio.htm?id=408|date=January 21, 2011}}, Electronic Arts Intermix, Retrieved June 6, 2020.</ref> Immersed in New York's downtown art scene of the 1960s, Jonas studied with the choreographer [[Trisha Brown]] for two years.<ref name=GuggenheimBio>{{cite web |url=http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/9903 |title=Collection Online – Joan Jonas |publisher=[[Solomon R. Guggenheim Museum]] |access-date=June 8, 2014 |url-status=dead |archive-url=https://web.archive.org/web/20140416181309/http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/9903 |archive-date=April 16, 2014 }}</ref>
Jonas also worked with choreographers Yvonne Rainer and Steve Paxton.<ref name="Joan Jonas">{{cite web |title=Joan Jonas |url=https://www.pbs.org/art21/artists/joan-jonas |website=pbs.org}}</ref>

[[Yoko Ono]] was part of the avant-garde movement of the 1960s. She was part of the Fluxus movement.<ref>{{Cite web|url=http://www.milartgranada.com/yoko-ono-la-artista-desconocida-mas-famosa-del-mundo/|title=Yoko Ono: La Artista desconocida más Famosa del Mundo}}</ref> She is known for her performance art pieces in the late 1960s, works such as ''Cut Piece'', where visitors could intervene in her body until she was left naked.<ref>{{cite news|title=Yoko Ono, Cut Piece y la performance feminista|url=https://revistamirall.com/2017/07/12/yoko-ono-cut-piece-y-la-performance-feminista/|access-date=May 21, 2020|work=Mirall|date=July 12, 2017}}</ref> One of her best known pieces is ''Wall piece for orchestra'' (1962).<ref>{{cite web |url= https://www.revistavanityfair.es/sociedad/celebrities/articulos/john-lennon-yoko-ono-boda-gibraltar-bed-peace-hair-peace/23747|publisher= Vanity Fair|title=John Lennon, Yoko Ono y Gibraltar|author=Ana López-Varela |date=September 2017|access-date=May 26, 2020}}</ref><ref>{{cite news |url= https://www.lanacion.com.ar/lifestyle/la-yoko-que-no-vemos-nid195543|newspaper= La Nación|title= La Yoko que no vemos|date=October 1998|access-date=May 26, 2020}}</ref>

[[Joseph Beuys]] was a German Fluxus, [[happening]], performance artist, painter, sculptor, [[medallist]] and [[installation artist]]. In 1962 his actions alongside the Fluxus neodadaist movement started, group in which he ended up becoming the most important member. His most relevant achievement was his socialization of art, making it more accessible for every kind of public.<ref>{{cite web|url=http://www.walkerart.org|title=Walker Art Center – Contemporary Art Museum – Minneapolis|website=www.walkerart.org}}</ref> In ''How to Explain Pictures to a Dead Hare'' (1965) he covered his face with honey and gold leaf and explained his work to a dead hare that lay in his arms. In this work he linked spacial and sculptural, linguistic and sonorous factors to the artist's figure, to his bodily gesture, to the conscience of a communicator whose receptor is an animal.<ref>{{cite book|last=Tisdall|first=Caroline|title=Joseph Beuys|year=2010|publisher=Thames & Hudson|page=37}}</ref> Beuys acted as a shaman with healing and saving powers toward the society that he considered dead.<ref>Andre Chahil: [http://andrechahil.com/wien-1985-phaenomen-fax-art-beuys-warhol-und-higashiyama-setzen-dem-kalten-krieg-ein-zeichen ''Wien 1985: Phänomen Fax-Art. Beuys, Warhol und Higashiyama setzen dem Kalten Krieg ein Zeichen.'']</ref> In 1974 he carried out the performance ''[[I Like America and America Likes Me]]'' where Beuys, a coyote and materials such as paper, felt and thatch constituted the vehicle for its creation. He lived with the coyote for three days. He piled United States newspapers, a symbol of capitalism.<ref name="henry-moore.org">{{cite web|url=http://www.henry-moore.org/hmi-journal/homepage/view-occasional-papers/beuysto-be-a-teacher-is-my-greatest-work-of-art/page-1|title=Henry Moore Institute|access-date=June 10, 2020}}</ref> With time, the tolerance between Beuys and the coyote grew and he ended up hugging the animal. Beuys repeats many elements used in other works.<ref>{{cite AV media|people=Halpern, John (Director)|date=April 15, 1988|title=[Joseph Beuys / Transformer]|medium=Television sculpture|location=New York City|publisher=I.T.A.P. Pictures|url=http://www.beuysfilm.com/}}</ref> Objects that differ form Duchamp's ready-mades, not for their poor{{clarify|date=October 2020}} and ephemerality, but because they are part of Beuys's own life, who placed them after living with them and leaving his mark on them. Many have an autobiographical meaning, like the honey or the grease used by the tartars who saved{{clarify|date=October 2020}} in World War Two. In 1970 he made his ''Felt Suit''. Also in 1970, Beuys taught sculpture in the Kunstakademie Düsseldorf.<ref>{{cite book |last1=Hopper |first1=Kenneth |last2=Hopper |first2=William |title=The Puritan gift: triumph, collapse, and the revival of an American dream |publisher=I.B.Tauris |year=2007 |isbn=978-1-85043-419-1 |page=334}}</ref> In 1979, the [[Solomon R. Guggenheim Museum]] of New York City exhibited a retrospective of his work from the 1940s to 1970.<ref>{{cite book |last=Hughes |first=Robert |title=The Shock of the New |edition= revised |publisher=Alfred A. Knopf |location=New York |isbn=0-679-72876-7 |year=1991 |page=[https://archive.org/details/shockofnew0000hugh/page/444 444] |url=https://archive.org/details/shockofnew0000hugh/page/444 }}</ref><ref>{{Cite web|url=https://www.eliasmariareti.de/Biografie|title=Elias Maria Reti - Künstler – Biografie|website=www.eliasmariareti.de|language=de|access-date=December 18, 2018|archive-url=https://web.archive.org/web/20181218193410/http://www.eliasmariareti.de/Biografie|archive-date=December 18, 2018}}</ref><ref>{{cite book|last=Ulmer|first=Gregory|title=Applied Grammatology: Post(e)-Pedagogy from Jacques Derrida to Joseph Beuys|year=1985|publisher=Johns Hopkins University Press|page=230}}</ref>

<gallery widths="200" heights="200">
File:Barbara Smith at NWSA 2017.jpg|Portrait of [[Barbara Smith]]
File:2012 Yoko Ono (8170166921).jpg|Conference by [[Yoko Ono]] in the Viena Biennial, 2012
File:Yoko Ono at John Lennon Plaque Unveiling (5107729471).jpg|Portrait of [[Yoko Ono]]
File:CaroleeSchneemann2008.jpg|Video art piece from the Brooklyn Museum with an interview with [[Carolee Schneemann]]
File:Joan Jonas Vertical Roll.jpg|[[Joan Jonas]] during a performance documented on video and installed, 1972
File:Joan Jonas (4518929754).jpg|Portrait of artist [[Joan Jonas]]
File:BeuysAchberg78.jpg|Portrait of [[Joseph Beuys]] in a conference-performance, 1978
File:Joseph Beuys Filtz TV by Lothar Wolleh.jpg|[[Joseph Beuys]] in a video art piece
</gallery>

[[Nam June Paik]] was a South Korean performance artist, composer and video artist from the second half of the 20th century. He studied music and art history in the University of Tokyo. Later, in 1956, he traveled to Germany, where he studied Music Theory in Munich, then continued in Cologne in the Freiburg conservatory. While studying in Germany, Paik met the composers [[Karlheinz Stockhausen]] and [[John Cage]] and the [[conceptual art]]ists [[Sharon Grace]] as well as [[George Maciunas]], [[Joseph Beuys]] and [[Wolf Vostell]] and was from 1962 on, a member of the experimental art movement [[Fluxus]].<ref>[[Christiane Paul (curator)|Christiane Paul]], Digital Art, Thames & Hudson, London, pp. 14–15</ref><ref>Petra Stegmann. ''The lunatics are on the loose – European Fluxus Festivals 1962–1977, Down with Art!'', Potsdam, 2012, {{ISBN|978-3-9815579-0-9}}.</ref> Nam June Paik then began participating in the [[Neo-Dada]] art movement, known as [[Fluxus]], which was inspired by the composer [[John Cage]] and his use of everyday sounds and noises in his music.<ref>{{cite web |url= https://www.guggenheim-bilbao.eus/exposiciones/los-mundos-de-nam-june-paik |publisher= Museo Guggenheim|title=Los mundos de Nam June Paik|date=September 30, 2002|access-date=June 5, 2020}}</ref> He was mates with [[Yoko Ono]] as a member of [[Fluxus]].<ref>{{cite web |url=  https://www.imdb.com/name/nm0656760/bio|publisher=IMDb|title=Biografía de Nam June Paik|first1=Steve|last1=Shelokhonov|access-date=June 5, 2020}}</ref>

[[Wolf Vostell]] was a German artist, one of the most representative of the second half of the 20th century, who worked with various mediums and techniques such as painting, sculpture, [[installation art|installation]], [[decollage]], [[video art]], [[happening]] and [[fluxus]].<ref>{{cite web|url=http://www.medienkunstnetz.de/works/you/|title=Media Art Net – Vostell, Wolf: YOU|date=April 12, 2018|website=www.medienkunstnetz.de}}</ref>

[[Vito Acconci]]<ref name="artnews">{{cite news|last1=Russeth|first1=Andrew|title=Vito Acconci, Whose Poetic, Menacing Work Forms Bedrock of Performance, Video Art, Dies at 77|url=http://www.artnews.com/2017/04/28/vito-acconci-dies-at-77/|access-date=April 28, 2017|work=ARTnews|agency=Art Media|publisher=Sarah Douglas|date=April 28, 2017}}</ref><ref name="nytimes">{{cite web |url=https://www.nytimes.com/2017/04/28/arts/design/vito-acconci-dead-performance-artist.html |title=Vito Acconci, Performance Artist and Uncommon Architect, Dies at 77 |first=Randy |last=Kennedy |date=April 28, 2017 |work=[[The New York Times]] |access-date=April 30, 2017|archive-url=https://archive.today/20170430074005/https://www.nytimes.com/2017/04/28/arts/design/vito-acconci-dead-performance-artist.html?_r=0 |archive-date=April 30, 2017}}</ref> was an influential American performance, video and [[installation art]]ist, whose diverse practice eventually included sculpture, architectural design, and landscape design. His foundational performance and video art<ref name="newyorker">{{cite magazine |url= https://www.newyorker.com/culture/culture-desk/postscript-vito-acconci-1940-2017 |title=Postscript: Vito Acconci, 1940–2017 |first=Andrea K. |last=Scott |date=April 28, 2017 |magazine=[[The New Yorker]] |access-date=March 20, 2018}}</ref> was characterized by "existential unease," exhibitionism, discomfort, transgression and provocation, as well as wit and audacity,<ref name="nytimes" /> and often involved crossing boundaries such as public–private, consensual–nonconsensual, and real world–art world.<ref name="atlantic">{{cite web |url=https://www.theatlantic.com/entertainment/archive/2017/05/vito-acconcis-sensational-performance-art-and-the-shifting-standards-of-pc-in-museums/524919/ |title=Vito Acconci and the Shelf Life of Sensational Art |first=Kriston |last=Capps |date=May 3, 2017 |work=[[The Atlantic]] |access-date=March 20, 2018}}</ref><ref name="guggenheim">{{cite web |url=https://www.guggenheim.org/artwork/artist/vito-acconci |title=Vito Acconci, Guggenheim Collection Online |work=[[Solomon R. Guggenheim Museum]] |access-date=March 20, 2018}}</ref> His work is considered to have influenced artists including [[Laurie Anderson]], [[Karen Finley]], [[Bruce Nauman]], and [[Tracey Emin]], among others.<ref name="atlantic" /> Acconci was initially interested in radical poetry, but by the late 1960s, he began creating [[Situationist]]-influenced performances in the street or for small audiences that explored the body and public space. Two of his most famous pieces were ''Following Piece'' (1969), in which he selected random passersby on New York City streets and followed them for as long as he was able, and ''[[Seedbed (performance piece)|Seedbed]]'' (1972), in which he claimed that he masturbated while under a temporary floor at the [[Sonnabend Gallery]], as visitors walked above and heard him speaking.<ref name="met">{{cite web |url=https://www.metmuseum.org/art/collection/search/266876 |title=''Seedbed'', Vito Acconci, The Met Collection Online |work=[[Metropolitan Museum of New York]] |date=1972 |access-date=March 20, 2018}}</ref>

[[Chris Burden]] was an American artist working in [[Performance Art|performance]], sculpture and [[installation art]]. Burden became known in the 1970s for his performance art works, including ''[[Shoot (Burden)|Shoot]]'' (1971), in which he arranged for a friend to shoot him in the arm with a small-caliber rifle. A prolific artist, Burden created many well-known installations, public artworks and sculptures before his death in 2015.<ref name="Margalit Fox 2015">{{cite news|first=Margalit|last=Fox|date=May 11, 2015|url=https://www.nytimes.com/2015/05/12/arts/chris-load-a-conceptualist-with-scars-dies-at-69.html|title=Chris Burden, un conceptualista con cicatrices, muere a los 69.|work=The New York Times}}</ref><ref name="newyorker.com">{{cite magazine|first=Peter|last=Schjeldahl|date=May 14, 2007|url=http://www.newyorker.com/arts/critics/artworld/2007/05/14/070514craw_artworld_schjeldahl|title=Actuación: Chris Burden y los límites del arte|magazine=The New Yorker}}</ref><ref name="nytimes.com">{{cite news|first=Roberta|last= Smith|date=October 3, 2013|url=https://www.nytimes.com/2013/10/04/arts/design/chris-burden-extreme-measures-at-the-new-museum.html|title=Las cosas de construir y destruir: 'Chris Burden: Extreme Measures' en el New Museum|work=The New York Times}}</ref> Burden began to work in performance art in the early 1970s. He made a series of controversial performances in which the idea of personal danger as artistic expression was central. His first significant performance work, ''[[Five Day Locker Piece]]'' (1971), was created for his master's thesis at the University of California, Irvine,<ref name="Margalit Fox 2015"/> and involved his being locked in a locker for five days.<ref name=WorkEthic>[https://books.google.com/books?id=XcAGVtDLBpMC&dq=%22chris+burden%22+%22honest+labor%22&pg=PA115 Work Ethic], by Helen Anne Molesworth, M. Darsie Alexander, Julia Bryan-Wilson, Baltimore Museum of Art, Des Moines Art Center, Wexner Center for the Arts; published 2003 by [[Penn State Press]]</ref>

[[Dennis Oppenheim]] was an American [[conceptual art]]ist, performance artist, [[Land art|earth artist]], sculptor and photographer. Dennis Oppenheim's early artistic practice is an epistemological questioning about the nature of art, the making of art and the definition of art: a meta-art which arose when strategies of the Minimalists were expanded to focus on site and context. As well as an aesthetic agenda, the work progressed from perceptions of the physical properties of the gallery to the social and political context, largely taking the form of permanent public sculpture in the last two decades of a highly prolific career, whose diversity could exasperate his critics.<ref name="Taylor">Simon Taylor, ''Dennis Oppenheim, New Works'', Guild Hall Museum, East Hampton, NY: 2001.  {{ISBN|0-933793-53-7}}</ref>

[[Yayoi Kusama]] is a Japanese artist who, throughout her career, has worked with a great variety of media including:sculpture, installation, painting, performance, film, fashion, poetry, fiction, and other arts; the majority of them exhibited her interest in psychedelia, repetition and patterns. Kusama is a pioneer of the pop art, minimalism and feminist art movements and influenced her coetaneous, [[Andy Warhol]] and [[Claes Oldenburg]].<ref>Kate Deimling (May 16, 20, [http://www.blouinartinfo.com/news/story/804726/yayoi-kusama-writes-of-hunger-grudges-and-necking-with-joseph-cornell-in-her-odd-autobiography Kusama Writes of Hunger, Grudges, and Necking With Joseph Cornell in Her Odd Autobiography] {{Webarchive|url=https://web.archive.org/web/20131106035904/http://www.blouinartinfo.com/news/story/804726/yayoi-kusama-writes-of-hunger-grudges-and-necking-with-joseph-cornell-in-her-odd-autobiography |date=November 6, 2013 }}, Blouinartinfo France.</ref> She has been acknowledged as one of the most important living artists to come out of Japan and a very relevant voice in avant garde art.<ref>Yamamura, Midori (2015) ''Yayoi Kusama: Inventing the Singular.'' MIT Press. {{ISBN|9780262029476}}</ref><ref>{{Cite news|last=Russeth|first=Andrew|title=Carolee Schneemann, Protean Artist Who Helped Define Contemporary Avant-Garde, Has Died at 79|url=http://www.artnews.com/2019/03/06/carolee-schneemann-died-feminist-art/|date=March 6, 2019|access-date=June 6, 2020|publisher=ArtNews|location=New York (Estados Unidos)}}</ref>

<gallery widths="200" heights="200">
File:Korea-Nam June Paik-One hundread-and-eight Tourments.jpg|Video-installation-performance by [[Nam June Paik]] in 2008
File:"Perpetual Mobile I" within "Fish Flies On Sky".jpg|Video-installation-performance by [[Nam June Paik]] in Düsseldorf
File:Wolf Vostell, 1980 in Spain.jpg|Portrait of [[Wolf Vostell]] in 1980
File:Allan Kaprow.jpg|Portrait of [[Allan Kaprow]] in 1973
File:Vito1973.jpg|[[Vito Acconci]] during a video-performance in 1973
File:Vito acconci, multi bed -1, 1992.jpg|Installation by [[Vito Acconci]] in the Luigi Pecci Contemporary Art Centre
File:Dennis Oppenheim "Engagement" Vancouver Sulpture Biennale (5086405361).jpg|Installation by [[Dennis Oppenheim]] in the Vancouver Sculpture Biennial
</gallery>